A Quote by Oscar Nunez

I've always loved improv. It's my thing. — © Oscar Nunez
I've always loved improv. It's my thing.
I guess, yeah. I've always loved improv. It's my thing. I really like it, but I also think it has to be done well.
I think with improv - and I say it all the time because it's become such a catch thing that you talk about improv - if the scene is well-written, you don't need to improv. But that being said, if something strikes you in the moment and, most importantly, you know where the scene is supposed to go, it's no different than method acting.
I had been on this improv team at this really great improv theater. It's called iO now. It used to be called Improv Olympic. They have showcases for Lorne Michaels and other writers and people who work at 'SNL' usually about once a year, although I don't know if it always happens.
I went to a French immersion school, and French-Canadian improv is a big thing, and we had an improv team at school, and 12 of us would get up and make things up against other elementary schools. I'd always wanted to perform, and that was just another extension of it.
I absolutely loved improv! I felt very much at home being onstage. It freed me to be all sorts of people other than myself. It was an escape from myself, if you will. I still love that creative freedom of improv and making people laugh.
We started off in improv and sketch comedy, and with improv the most important thing is to listen and make sure you're not stepping over someone, so we've been trained for such a long time doing that.
I'm convinced to do improv. All you have to do is listen to what people are saying to you, and then just add more information to what they've just said. That's all there is to improv, but it's the hardest thing to do.
The biggest thing that comes out of improv that gets built on is just character traits. You know, for me the singing was born out of improv.
One thing my old improv teacher taught me is when you're not in the improv scene and you're standing back watching your partners, you ask, 'What does the scene need?'
I always loved acting and improv and sketch comedy and theater, which I did at a local youth theater.
Well, actually, the Second City thing came about because I was taking a few improv classes there. I thought that the improv classes would help with my wrestling career, which it has.
I had a teacher who recommended I take improv classes in Chicago - I'm from Evanston, Illinois - so I did improv classes at Improv Olympic, and that kind of opened me up.
The thing that always fascinated me about improv is that it's basically a happy accident that you think you're initiating.
My rule of thumb is to always do what's on the page first. Then you can talk to your director about playing with it. Improv frees me up in a character, but I would be mortified if the writers who agonized over their words assumed I thought my improv was more valuable.
When I was coming up the DC Improv was considered the best Improv out there. It's always been high quality stuff coming out of there.
We live in a time where improv is king and people love improv, and I think there's a time and a place for that and people who are really good at structuring improv.
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